Access All Areas addresses a wide range of institutional and personal ideologies governing access to art and artists and the national cultural frameworks that support them. Contributing texts in this publication stems from Access All Areas, the second in a series of international symposia hosted in 2006 by the Irish Museum of Modern Art, Dublin. Also included in this publication series are Curating Now (2009) and Museum21(2010). Edited by Helen O’Donoghue.

Series compiled and edited by Guy Marc Hinant. Guy Marc’s cover concept was to begin the series at the exterior (the iconic Philips Pavilion built for Expo ’58, Brussels), moving in steps into the room and into the machines before zooming back out to a concept sketch for the pavilion by Iannis Xenakis: the building in thought form only.

Changing States: Contemporary Irish Art & Francis Bacon's Studio presents the work of 20 contemporary Irish artists who have made significant contributions to contemporary art practice. An exhibition of items from the studio of Francis Bacon provides an in-depth picture of art-making by one of the greatest artists of the 20th century, whose subject matter and existential concerns are highly regarded by younger generations of artists working in all media. The exhibition draws on the impressive collections of Ireland's two leading institutions of modern and contemporary art, the Irish Museum of Modern Art (IMMA) and Dublin City Gallery The Hugh Lane.

Curating Now investigates issues around curatorship in international galleries and museums exploring different models and the importance of particular contexts. This publication stems from the Curating Now symposium, the first in a series of international symposia hosted in 2004 by the Irish Museum of Modern Art, Dublin. Also included in this publication series are Access All Areas (2009) and Museum21 (2010). Edited by Helen O’Donoghue.

Corpus: Dennis McNulty

From the press release:"The border between fictional or projected futures and reality is becoming more and more difficult to precisely determine. The next version of the internet, which is referred to as the Semantic Web, is being designed to be navigated by machines, and The Internet of Things promises us a world where all objects will possess, and be able to communicate, some kind of awareness of their place in a hierarchy of matter. Processes like Machine Translation and Sentiment Analysis, which are part of the Artificial Intelligence jigsaw alongside technologies such as Machine Vision and Deep Learning systems, have been slowly leaking into the present for a number of years now.

These and other shifts in the human/machine relationship form the backdrop to Corpus, a two volume artist's publication project by Dennis McNulty. The word corpus means body in Latin, but it also refers to a large and structured collection of texts. Large corpora (the plural of corpus) form the basis contemporary Machine Translation algorithms, such as Google translate. The volumes of McNulty's project are entitled Corpus and Organs. The former comprises a diagrammatic translation of every review of the movie The Fountainhead on amazon.com, each of which is generated algorithmically, while the latter presents a series of texts as an accompaniment and contextualisation."

Corpus is co-published by Publication Studio Vancouver and Project Press. Supported by an Arts Council of Ireland Project Award.

binding:case bound, square spine and head and tail bandsDeboss on front and back cover

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A joint venture between the Arts Council/ An Chomhairle Ealaíon and Arts Council of Northern Ireland, the Curated Visual Arts Award presented solo exhibitions at the Douglas Hyde Gallery, Dublin and Void, Derry of works by Brendan Earley, Factotum, Conor McFeely and Bea McMahon curated by Mike Nelson.

Included in the shots are copies of Tuxedo Junction and Images or Shadows, the invitation for Gerard's IMMA show Through the eyes, and one of the reference prints used when preparing the duotones and tritones. 120lpi screens used throughout. Duotones printing onto matt, tritones printing onto gloss, in alternating 12pg. sections.

wayfinding system, Irish Museum of Modern Art

The wayfinding system developed for the Irish Museum of Modern Art, at the Royal Hospital Kilmainham in Dublin addresses complex navigation issues throughout a listed structure. Minimising architectural intervention, only glazing and painted areas are used as signs. No other mechanisms are employed. The glazed foyer is a natural lightbox. A translucent coloured frieze is fixed to the glass and lettering applied, allowing unfiltered daylight to enter above and below. From the courtyard the glazing becomes a unifying low-key sign, while inside, the space is enveloped by a coloured glow. The colour changes the atmosphere of the room. On the walls, painted areas delineate signage with vinyl lettering. This logic is applied throughout the building.

This book features the release version of Cardea, a font designed by David Cabianca. David kindly offered that I try out a pre-release version, which is used for the texts in The greatness of things, the Hilma af Klint book I designed for the Douglas Hyde Gallery in 2005. The release version of Cardea which was used in A modern panarion is now available from Emigre Fonts.

Museum21 investigates issues around curatorship in international galleries and museums exploring different models and the importance of particular contexts. This publication stems from the Museum21 symposium, the concluding partof a three part series of international symposia hosted by the Irish Museum of Modern Art, Dublin. Also included in this publication series are Curating Now and Access All Areas (both 2009). Edited by Helen O'Donoghue.

The moderns was one of three books presented by Peter at "The book: history and practice" at University College Dublin Humanities Institute, 12 March 2012. Also shown were Images or shadows, and Of. The workshop included presentations by book historians, educators, calligraphers and designers.

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"THIS IS A HUGE BOOK. It weighs three kilos, looks beautiful and offers a rich pictorial history of modernist painting, sculpture, architecture, photography... The quality and number of illustrations are such that this book will long serve as a vital resource on informing us about the range of artistic activity during the period... This book makes the temporality of the exhibition visit permanent..." FINTAN CULLEN reviews The Moderns: The Arts in Ireland from the 1900s to the 1970s, Irish Times 23 July 2011

The museum of modern comedy: Olav Westphalen

An artwork by Olav Westphalen created with Peter Maybury for the exhibition The Museum of Modern Comedy in Art (MoMCo) – A Proposal, Project Arts Centre, Dublin, 1 September – 21 October 2017Co-curated by Livia Páldi and by Olav Westphalen

The Model is home to the Niland Collection, one of Ireland's most significant public art collections. Begun by Nora Niland in 1959, the collection features work by many of Ireland's most acclaimed twentieth century artists. The collection has a particular focus on the northwest of Ireland and features many artists who are linked to the area through birth, family or subject matter including Jack B Yeats, Patrick Collins, Sean McSweeney, Patrick Hall and Nick Miller. Paintings by the Yeats family are also a particular focus and the collection features almost fifty works by Jack B. Yeats, nineteen portraits by his father John Butler Yeats, as well as works by Jack's wife Mary Cottenham Yeats, and his sister Elizabeth Yeats.(extract from Model website)

Rainfear meets DAXA uptown: Dennis McNulty

Small format zine to accompany event at the Douglas Hyde Gallery, Dublin, 26 January 2017. DAXA, a custom musical device which translates between any arbitrary MIDI control surface and the DX7 was developed by artist Dennis McNulty specifically for David Donohoe.

This publication is modelled on a 10" record cover. Amongst the works from this exhibition are two pieces – one with a black background and one with a white background, the works are otherwise identical. 289 unique holes are laser cut through the black printed outer sleeve, beneath which can be seen the gold lozenges of the white painting on the front cover of the catalogue.

This book is bound along the long edge but reads as a landscape book. The images have a spot varnish sealer printed in a separate pass and this gives the images a beautiful lift while contrasting with the open grain of the paper.

Sketches of universal history compiled from several authors by Sarah Pierce

PARTICIPATING INSTITUTIONS:Institute for Architecture and Planning,University of Liechtenstein, VaduzSchool of Architecture, Landscape & Civil Engineering,University College Dublin, DublinAcademy of Architecture,Amsterdam School of Arts, AmsterdamDepartment of Architectural Design, History and Technology,Norwegian University of Science and Technology, TrondheimSchool of Architecture,The Royal Academy of Fine Arts, CopenhagenFaculty of Architecture,University of Ljubljana, LjubljanaETS Arquitectura del Vallès,Technical University of Catalunya, Catalunya

For Titled/Untitled I visited the castle and photographed the courtyards and buildings of the exhibition space, and these photos run throughout the book. I invited Ronan McCrea to make the installation photographs. This project also included the design of posters, flyers and invitations.

Awarded silver Bell in the 2011 Irish creative advertising and design (ICAD) awards, and featured in their annual publication.

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Morton Feldman is widely considered one of the most influential composers of the 20th century. Revolving around a project he curated in 1967 entitled Six Painters, this catalogue considers the impact that modern abstract art had on Feldman's own musical compositions, tracing direct links and hidden meanings. Featuring works from the original six painters - Philip Guston, Franz Kline, Piet Mondrian, Willem de Kooning, Jackson Pollock and Mark Rothko - this publication also includes works by many other artists whom Feldman admired. The book includes a facsimile reproduction of the entire Six Painters catalogue.

Vertical thoughts was included in the Pallas Periodical Review at Pallas Projects, Dublin, December 2011.

I wrote some notes for the exhibition:The Six painters reproduction idea came from Juan Manuel and Seán, although I was keen on it including endpapers etc. to be a facsimile reproduction. The quality of the scanning and reproduction here is pretty amazing. The original copy was unbound for scanning in single pages. Floating it in the black surround (it's reproduced s/s) was to make a complete interruption in the book, like an insertion, and to contribute to the lovely black stripes and their irregular rhythm on the cut edges of the book. (The cut edge also works as a fast-find index for some sections of the book!)

In fact black or grey borders were used for all the insertions in the book - eg. for all reprinted texts, so for example the Barbara Monk Feldman article, although reset and not in facsimile, approximates the page size of the original publication it appears in, and is set on a grey background.

Some elements were further 'folded-in' such as the same size reproduction of the "Arts consultants services" letterhead p. 63, or the typewriter typed text by Dory Ashton.

This was intended as a unifying device given the wide variety of sources and material to be reproduced, which included documents, scores, sketches, photographs of varying eras and quality, record covers, images of rugs, and of course paintings and sculptures. there are many authors and voices.

Strangely, the way I found to pull all this together was to have almost no consistency in the layout from one element to the next. Each text is set in a different combination of typefaces, none of which follow a consistent layout or grid, and each evoking different aspects of book/editorial design. The typography is willfully awkward, although far from unreadable. each editorial component was given its own identity in some small way.

The book format was simply the largest possible page size as we were reducing large paintings, as well as manuscripts which would be best enjoyed when reproduced close to their original size.

The paper is the same throughout, in part as a unifying device and also to have a slight suggestion of a directory or catalogue - and with a soft cover - so as not too precious. The binding is an OTA bind where the cover board of the spine is not attached to the book block. This ensures that the book opens quite flat, and the spine does to crease.

Underground was co-curated by Dennis McNulty & Peter Maybury. The exhibition was supported by the Arts Council of Ireland. An exhibition in the basement of Roads Records, an independent record shop in Dublin city centre. The show included work by Angela Detanico & Rafael Lain, Francis McKee, Garrett Phelan, Sarah Pierce, Stephen Rennicks, Adam Sutherland, Robin Watkins, Blogariddims, Economic Thought Projects, Experimental Jetset, Barry Lennon, The Stars are Underground, Rudy VanderLans. Four screenings in the basement of Filmbase in conjunction with Darklight - Shell Shock Rock, The Stars are Underground, Decade of Dance & Last Night of Phunk City. A 192 page publication featuring contributions from Martin McCabe, Ciaran Nugent, Stephen Rennicks, Loserdom, irishrock.org, Rudy VanderLans, Experimental Jetset, Dave Road, Paul Rowley, Dean No Age, the Metropolitan Complex and many more. A series of events in the exhibition space. A playback of Phantom Fountain/Future Stream by Robin Watkins, a live streamed band practice by Stoner Girlfriend and an online auction of Northern Soul records with live web-radio commentary by Adam Sutherland.